National 5 Dance

Course code: C818 75

Course assessment code: X818 75

SCQF: level 5 (24 SCQF credit points)

Valid from: session 2017–18

The course specification provides detailed information about the course and course assessment to ensure consistent and transparent assessment year on year. It describes the structure of the course and the course assessment in terms of the skills, knowledge and understanding that are assessed.

This document is for teachers and lecturers and contains all the mandatory information you need to deliver the course.

This edition: September 2018, version 3.0

© Scottish Qualifications Authority 2012, 2017, 2018

Contents

Course overview 1 Course rationale 2 Purpose and aims 2 Who is this course for? 2 Course content 4 Skills, knowledge and understanding 4 Skills for learning, skills for life and skills for work 7 Course assessment 8 Course assessment structure: question paper 8 Course assessment structure: practical activity 9 Practical activity marking instructions 12 Course assessment structure: performance 18 Performance marking instructions 20 Grading 23 Equality and inclusion 24 Further information 25 Appendix 1: course support notes 26 Introduction 26 Developing skills, knowledge and understanding 26 Approaches to learning and teaching 26 Preparing for course assessment 27 Developing skills for learning, skills for life and skills for work 51 Appendix 2: sample skills and techniques 53 Appendix 3: example of knowledge and understanding for a chosen dance style 57 Appendix 4: learning and teaching resources 59 Appendix 5: recommended list of professional choreographies 61 Appendix 6: word bank 63

Course overview

The course consists of 24 SCQF credit points which includes time for preparation for course assessment. The notional length of time for a candidate to complete the course is 160 hours.

The course assessment has three components.

Component Marks Scaled mark Duration

Component 1: 30 20 1 hour question paper Component 2: 65 45 See course practical activity assessment section Component 3: 35 35 See course performance assessment section

Recommended entry Progression

Entry to this course is at the discretion of  Higher Dance the centre.  National Certificate in Dance (SCQF level 6) Candidates should have achieved the  National Progression Award in Musical fourth curriculum level or the equivalent Theatre (SCQF level 6) qualifications and/or experience prior to starting this course.  National Progression Award in Dance (SCQF level 5) Candidates may have completed the  National Progression Award in Musical National Progression Award in Dance Theatre (SCQF level 6) (SCQF level 4) prior to starting this course  other qualifications in dance or related but this is not mandatory. areas  further study, employment and/or training

Conditions of award The grade awarded is based on the total marks achieved across all course assessment components.

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Course rationale National Courses reflect Curriculum for Excellence values, purposes and principles. They offer flexibility, provide more time for learning, more focus on skills and applying learning, and scope for personalisation and choice.

Every course provides opportunities for candidates to develop breadth, challenge and application. The focus and balance of assessment is tailored to each subject area.

The National 5 Dance course encourages candidates to become successful, independent and creative in their use of dance. They develop attributes and capabilities including creativity, flexibility and adaptability; enthusiasm and a willingness to learn; perseverance, independence and resilience; responsibility and reliability; confidence and enterprise.

The course is practical and experiential. Candidates develop a range of technical and choreographic skills in dance to produce creative and imaginative performances. The course provides scope for personalisation and choice.

The course encourages candidates to be creative and to express themselves in different ways. Learning through dance helps candidates to develop an appreciation of aesthetic and cultural values, identities and ideas.

Learning in the course includes active involvement in creative activities and performance, and the creative use of technical and choreographic dance skills.

Purpose and aims The purpose of the National 5 Dance course is to enable candidates to develop a range of dance and choreographic skills. Candidates develop and reflect on technical and creative skills through practical learning. They gain an understanding of the origins of dance and the impact of theatre arts.

The course aims to enable candidates to:

 demonstrate and apply knowledge and understanding of dance  develop a range of technical dance skills  develop performance skills to enhance performance  develop knowledge, understanding and appreciation of dance practice  understand and apply knowledge of a range of choreographic skills to create a dance  evaluate their own work and the work of others  work imaginatively and demonstrate creativity  co-operate, support and work with others  consider how theatre arts can enhance a performance  apply the principles of safe dance practice Who is this course for? This course is suitable for all learners with a general interest in dance or for those hoping to progress onto higher levels of study.

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The learning experiences in the course are flexible and adaptable, with opportunities for personalisation and choice. This makes the qualification highly accessible, as it can be contextualised to suit a diverse range of learner needs and aspirations. The course is largely learner-centred, with practical and experiential learning opportunities.

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Course content

The National 5 Dance course has an integrated approach to learning that develops practical and evaluative skills, knowledge and understanding of technical dance and performance and choreographic skills. Candidates learn how to evaluate their own work and the work of others and use this knowledge to inform and influence their own creative thinking and performance. Candidates experiment with a range of choreographic principles and consider the impact of theatre arts on performance. They also explore the origins of dance.

Choreography Candidates respond to stimuli using imagination and creativity, conveying thoughts, meanings and ideas through movement. They learn how to apply choreographic principles to enhance intention. They also apply problem-solving skills in order to create and deliver choreography. Candidates evaluate the work of professional choreographers to help explore and develop their own choreographic ideas.

Technical skills Candidates benefit from the experience of learning specific dance techniques and use these to develop a range of technical skills as a dancer.

Skills, knowledge and understanding

Skills, knowledge and understanding for the course The following provides a broad overview of the subject skills, knowledge and understanding developed in the course:

 exploring a range of dance skills and techniques  exploring a range of performance skills as appropriate to a specific dance style  using evaluative skills in relation to self and others  demonstrating and applying knowledge and understanding of dance  exploring choreographic principles, devices and structures  using evaluative skills within the creative process through choreography  responding to stimuli using imagination and creativity  conveying thoughts, meaning and ideas through movement  exploring the origins of a specific dance style  gaining knowledge and understanding of safe dance practice  exploring the impact of theatre arts in choreography  exploring the origins of a specific dance style

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Skills, knowledge and understanding for the course assessment The following provides details of skills, knowledge and understanding sampled in the course assessment:

Question paper The question paper assesses candidates’ ability to demonstrate the following skills, knowledge and understanding:

 technical accuracy  areas of strength  areas for development  development methods to improve dance technique  development methods to improve performance skills  use of spatial awareness  use of timing and musicality  use of quality and dynamics  self-expression, sense of performance, concentration and focus in relation to self and others  origins and developments of a dance style  key characteristics of a selected dance style  style-specific steps  historical impact on a selected dance style  evaluation of professional live or recorded choreography for two or more people  impact of choreographic structure  impact of choreographic devices  impact of spatial elements  impact of music/sound  impact of theatre arts

Practical activity The practical activity has two sections:

Choreography The choreography section assesses the candidate’s ability to demonstrate the following skills, knowledge and understanding:

 creative movement from a chosen theme or stimulus  application of a chosen structure  application of three choreographic devices  use of spatial elements  use of music/sound

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Choreography review The choreography review assesses the candidate’s ability to demonstrate the following skills, knowledge and understanding:

 response to stimuli  research findings  structure in relation to theme/stimulus  choreographic devices, choices and relevance to theme/stimulus  spatial elements in relation to theme/stimulus  music/sound in relation to theme/stimulus  evaluation of choreographic process  choreographic strengths  choreographic areas for development

Performance The performance assesses the candidate’s ability to demonstrate the following:

 application of technique  fluency and transitions within performance  strength, stamina and flexibility  spatial awareness  application of performance skills as appropriate to the chosen style  timing and musicality  quality and dynamics  ability to control nerves, concentrate and focus

Skills, knowledge and understanding included in the course are appropriate to the SCQF level of the course. The SCQF level descriptors give further information on characteristics and expected performance at each SCQF level (www.scqf.org.uk).

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Skills for learning, skills for life and skills for work This course helps candidates to develop broad, generic skills. These skills are based on SQA’s Skills Framework: Skills for Learning, Skills for Life and Skills for Work and draw from the following main skills areas:

3 Health and wellbeing

3.1 Personal learning 3.3 Physical wellbeing

4 Employability, enterprise and citizenship

4.3 Working with others

5 Thinking skills

5.4 Analysing and evaluating 5.5 Creating

These skills must be built into the course where there are appropriate opportunities and the level should be appropriate to the level of the course.

Further information on building in skills for learning, skills for life and skills for work is given in the course support notes.

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Course assessment

Course assessment is based on the information provided in this document.

The course assessment meets the key purposes and aims of the course by addressing:

 breadth — drawing on knowledge and skills from across the course  challenge — requiring greater depth or extension of knowledge and/or skills  application — requiring application of knowledge and/or skills in practical or theoretical contexts as appropriate

This enables candidates to:

 apply knowledge from across the course and depth of understanding to answer questions about dance  apply choreography skills, knowledge and understanding to create and present a choreography for two dancers, and review the choreographic process  extend and refine technical and performance skills gained in the course; perform a tutor- choreographed technical solo lasting a minimum of 1 minute and 30 seconds and a maximum of 2 minutes

Course assessment structure: question paper

Question paper 30 marks The question paper requires candidates to draw on and apply a sample of all the skills, knowledge and understanding listed for the question paper in the ‘Skills, knowledge and understanding for the course assessment’ section of this document.

The question paper has 30 marks (20% of the overall course award).

The question paper has three sections. All questions are compulsory and candidates are expected to use dance terminology throughout.

Section 1: Evaluation of Own Work/Personal Performance (10 marks) This section asks candidates to give a personal evaluative response of self. This may include technical ability; turnout; parallel; centre; balance; alignment and posture; stamina; strength and flexibility; spatial awareness; timing and musicality; quality and dynamics; self- expression; sense of performance; and concentration and focus.

Section 2: Knowledge and Understanding of a Chosen Dance Style (10 marks) This section asks candidates to demonstrate knowledge and understanding of a chosen dance style. This may include its origins and developments; style specific steps; key characteristics/stylistic features; historical influences; iconic style of influential choreographers and key movements.

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Section 3: Evaluation of Professional Choreography (10 marks) This section asks candidates to give a personal evaluative response to a professional piece of choreography for two or more dancers. This may include theme and/or stimulus; key movements or motif, structure; devices; spatial elements; music/sound and theatre arts.

Note: to prepare candidates for the question paper, teachers or lecturers must select a professional dance choreography to study in full.

Setting, conducting and marking the question paper The question paper is set and marked by SQA, and conducted in centres under conditions specified for external examinations by SQA. Candidates complete this in 1 hour.

Specimen question papers for National 5 courses are published on SQA’s website. These illustrate the standard, structure and requirements of the question papers candidates sit. The specimen papers also include marking instructions.

Course assessment structure: practical activity

Practical activity 65 marks The purpose of the practical activity is to assess the creation and presentation of choreography for two dancers and the application of problem-solving, critical-thinking, interpretation and reflective practice.

The practical activity has 65 marks (45% of the overall course award).

There are two sections: choreography and choreography review.

Section 1: Choreography (35 marks) Candidates create and present a dance for two people, excluding self, lasting a minimum of 1 minute and 30 seconds and a maximum of 2 minutes. The process requires candidates to:

 select and research a theme or stimulus, and develop creative movement from this  select and apply an appropriate choreographic structure, devices, spatial elements, and music/sound  prepare the choreography for presentation  present the choreography

Section 2: Choreography review (30 marks) This section assesses breadth of knowledge from across the course, depth of understanding, and application of this knowledge and understanding. Candidates produce an extended response which reviews the choreography they have created and their skills as a choreographer.

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The choreography review gives candidates the opportunity to demonstrate the following knowledge and understanding:

 research findings and movement ideas generated in relation to a theme/stimulus they have chosen  use of structure  use of three choreographic devices  use of spatial elements  use of music/sound  choreographic strengths  choreographic areas for development

Setting, conducting and marking the practical activity The practical activity is set by centres within SQA guidelines and conducted under some supervision and control.

The choreography of a sample of 12 candidates is marked collaboratively by an SQA visiting assessor and a centre assessor under conditions set by SQA. When there are more than 12 candidates, the centre assessor applies the national standard to the remainder of the cohort.

The choreography review is pre-marked by the centre assessor prior to the visiting assessment event taking place and is then marked by an SQA visiting assessor at the centre, under conditions set by SQA.

Assessment conditions Time The choreography is a live single assessment event that should last a minimum of 1 minute and 30 seconds and a maximum of 2 minutes for each candidate.

The choreography review is carried out over time and must be completed in advance of the external assessment event.

Supervision, control and authentication The choreography is marked by an SQA visiting assessor, and conducted in centres under conditions specified for visiting assessment by SQA.

The choreography review is conducted under some supervision and control. This means:

 Candidates do not need to be directly supervised at all times.  The use of resources, including the internet, is not tightly prescribed.  The work an individual candidate submits for assessment is their own.  Teachers/lecturers can provide reasonable assistance.

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Resources There are no restrictions on the resources to which candidates may have access while preparing for their choreography or producing their choreography review.

Reasonable assistance Candidates must undertake the assessment independently. However, reasonable assistance may be provided prior to the formal assessment process taking place. The term ‘reasonable assistance’ is used to try to balance the need for support with the need to avoid giving too much assistance. If any candidates require more than what is deemed to be ‘reasonable assistance’, they may not be ready for assessment or it may be that they have been entered for the wrong level of qualification.

Reasonable assistance may be given on a generic basis to a class or group of candidates. It may also be given to candidates on an individual basis.

Assessors can provide candidates with some formative assistance prior to the formal assessment event.

Evidence to be gathered The following candidate evidence is required for this assessment:

 a live performance of choreography lasting a minimum of 1 minute and 30 seconds and a maximum of 2 minutes  responses to choreography review assessment tasks

Volume As a guide, written responses to the choreography review should be between approximately 750 and 1,500 words. Candidates can include supplementary material such as diagrams or photographs if they need to reference these in their responses. This material is not a requirement and is not awarded marks that contribute to the overall course award.

Word count is given to indicate the volume of evidence required. No penalty will be applied.

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Practical activity marking instructions

Section 1: Choreography General marking principles For each element of the choreography, assessors allocate a mark up to the maximum available as detailed below. The assessor should select the band descriptor which most closely describes the standard of the presented choreography. Once the best fit has been selected:

 Where the choreography just meets the standard described, award the lowest mark from the range.  Where the choreography almost matches the band above, award the highest available mark from the range.  If the band descriptor has 3 marks, and the choreography does not fit the instructions above for awarding either the highest or lowest mark in the band, award the middle mark.  If the choreography meets all the standards described in the top band descriptor, and demonstrates particular originality or creativity, award the highest available mark for the element being assessed.

Detailed marking instructions

Section 1: Choreography

Activity Max Mark band descriptors Additional guidance mark Use of 10 9–10 theme/stimulus The theme/stimulus is used creatively to create and and consistently throughout to develop communicate meaning and ideas movement through movement.

7–8 The theme/stimulus is used with some originality and consistency to communicate meaning and ideas through movement.

5–6 The theme/stimulus is mainly evident in the movement developed within the choreography.

3–4 The theme/stimulus is evident at several points in the choreography.

1–2

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The choreography demonstrates little use of theme/stimulus.

0 There is no theme or stimulus evident.

Use of 4 3–4 Candidates are choreographic A structure is used effectively instructed to use one structure throughout. structure from the following: 1–2 There is some evidence of a structure.  binary  narrative 0  ternary There is no use of structure.

If an unlisted but valid structure is used, accept and mark as normal.

Use of 12 10–12 Three devices should be choreographic The choreography demonstrates used. These may devices effective use of a range of include: choreographic devices to convey all of the intentions of the choreography.  motif and development 7–9  unison The devices used help to convey most  canon of the intentions of the choreography.  repetition 4–6  mirroring The devices used help to convey  partner work some of the intentions of the  retrograde choreography.  contact improvisation

1–3 Devices are used, but these convey If an unlisted but valid little about the intentions of the device is used, accept choreography. and mark as normal.

0 Each device need not be No choreographic devices are used. employed equally; they may be used to varying extents and, therefore, should not be assessed separately. Assessors should verify that at least three have been used, and consider the use or effectiveness of these together.

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If only two devices are used, award a maximum of 8 marks.

If only one device is used, award a maximum of 4 marks.

Use of spatial 6 5–6 Spatial elements may elements Spatial elements contribute effectively include: to convey the intentions of the choreography.  direction  floor patterns 3–4  pathways Spatial elements mainly contribute towards conveying the intentions of  levels the choreography. Assessors should 1–2 consider the overall There is little effective use of spatial contribution of spatial elements. elements to convey the intentions of the 0 choreography. There is no effective use of space.

Use of 3 3 music/sound Selected music/sound enhances the intention of the choreography.

2 Selected music/sound is appropriate to the intention of the choreography.

1 There is little relationship between the selected music/sound and the intention of the choreography.

0 There is no relationship between the selected music/sound and the intention of the choreography.

Section 2: Choreography Review General marking principles The tasks in the choreography review ask candidates to either describe or explain elements of the choreographic process.

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Where candidates are asked to describe…

Candidates must make a number of relevant, factual points, or state characteristics and features as appropriate to the task. Points made do not need to be in any particular order. Candidates may provide a number of straightforward points or a smaller number of developed points, or a combination of these.

Where candidates are asked to explain…

Candidates must make points that make relationships between things clear. Where a number of points are made, these do not need to be in any particular order. Candidates may provide a number of straightforward points or a smaller number of developed points, or a combination of these.

Up to the total marks allocated:

 1 mark should be given for each relevant point of description or explanation.  Each subsequent mark can be given for development of a relevant point. Developments might take the form of extra detail, explanations which are in some depth, or any other valid point that relates to the choreographic process.

Detailed marking instructions

Section 2: Choreography Review

Task Max Marking instructions mark 1 6 Candidates are expected to describe two research findings and explain movement ideas generated from these.

In relation to each area of research, award up to 2 marks as follows:

 Award 1 mark for a straightforward description of research finding(s).  Award 1 mark for a straightforward explanation of movement ideas generated as a result of the finding(s).

The remaining 2 marks can be awarded across the response for any developed descriptions of research findings or explanations of movement ideas.

2 a 3 Candidates are expected to describe a particular structure chosen and explain the reason for its use.

Award up to 3 marks as follows:

 Award 1 mark for a straightforward description of the structure used.

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 Award 1 mark for a straightforward explanation relating the choice of structure to the intentions of the choreography. Intentions may be described in terms of meanings, ideas, theme/stimulus, effect, or in any other valid way.  Award a third mark for any development of the explanation.

b 8 Candidates are expected to describe three choreographic devices chosen and explain reasons for their use.

For each of the three devices chosen, award up to 2 marks as follows:

 Award 1 mark for a straightforward description of the device used.  Award 1 mark for a straightforward explanation relating the choice of device to the intentions of the choreography. Intentions may be described in terms of meanings, ideas, theme/stimulus, effect, or in any other valid way.

The remaining 2 marks can be awarded across the response for any developed descriptions of devices or explanations for their use.

c 4 Candidates are expected to describe their use of spatial elements and explain reasons for their decisions.

For spatial elements, award up to 2 marks as follows:

 Award 1 mark for straightforward descriptions of spatial elements.  Award 1 mark for straightforward explanations relating the spatial elements to the intentions of the choreography. Intentions may be described in terms of meanings, ideas, theme/stimulus, effect, or in any other valid way.

The remaining 2 marks can be awarded across the response for any developed descriptions of spatial elements or explanations for their use.

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d 3 Candidates are expected to describe the music/sound chosen and explain reasons for its use.

Award up to 3 marks as follows:

 Award 1 mark for a straightforward description of the music/sound used.  Award 1 mark for a straightforward explanation relating the choice of music/sound to the intentions of the choreography. Intentions may be described in terms of meanings, ideas, theme/stimulus, effect, or in any other valid way.  Award a third mark for any development of the explanation.

3 a 3 Candidates are expected to describe one choreographic strength and give two examples of this from their work.

Award up to 3 marks as follows:

 Award 1 mark for a straightforward description of a strength evident or developed during the candidate’s work as a choreographer.  Award 1 mark for each valid example from any part of the choreographic process: research, planning, development and presentation of performance.

b 3 Candidates are expected to describe one choreographic area for development and give two examples of this from their work.

Award up to 3 marks as follows:

 Award 1 mark for a straightforward description of an area for development evident during the candidate’s work as a choreographer.  Award 1 mark for each valid example from any part of the choreographic process: research, planning, development and presentation of performance.

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Course assessment structure: performance

Performance 35 marks The purpose of the performance is to assess a solo performance in one dance style and the candidate’s ability to apply and combine technical skills and performance skills.

The performance has 35 marks (35% of the overall course award).

The performance is a tutor-choreographed technical solo in a selected dance style. It must last a minimum of 1 minute and 30 seconds and a maximum of 2 minutes.

The candidate is assessed on application of technique and performance skills as follows:

Application of technique  technical accuracy and use of turnout/parallel as appropriate to the dance style  centring, balance, alignment and posture  stamina, strength and flexibility  spatial awareness and accurate recreation of choreography

Application of performance skills  timing and musicality  quality and dynamics  self-expression, sense of performance, concentration and focus

Setting, conducting and marking the performance The performance is set by centres within the following SQA guidelines:

 Teachers/lecturers are responsible for choreographing the dance, guiding rehearsals, and providing feedback and ongoing support for candidates during preparation until the assessment event.  The dance should incorporate a range of style-specific steps and principles to allow candidates to demonstrate sustained technical skills.  When choreographing the dance, teachers/lecturers may wish to consult the course support notes for information about style-specific steps that may be included.

The performance is conducted under a high degree of supervision and control.

The performances of a sample of 12 candidates are marked collaboratively by an SQA visiting assessor and a centre assessor under conditions set by SQA. When there are more than 12 candidates the centre assessor applies the national standard to the remainder of the cohort.

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Assessment conditions Time The performance is a live single assessment event that should last a minimum of 1 minute and 30 seconds and maximum of 2 minutes for each candidate.

Supervision, control and authentication The performance is marked by an SQA visiting assessor, and conducted in centres under conditions specified for visiting assessment by SQA.

Candidates can learn and rehearse the choreographed dance in a group setting. However, for the external assessment event, the candidate must perform the dance individually.

Resources There are no restrictions on the resources to which candidates may have access while preparing for their performance.

Assessment should take place in an appropriate location such as a dance studio, gym, assembly hall or stage, preferably with a wooden or sprung floor.

To ensure that technical skills can be reliably observed and that safe dance practice is observed, appropriate clothing and footwear which allows the assessor to see the shape and line of the body should be worn during the performance.

Reasonable assistance Candidates must undertake the assessment independently. However, reasonable assistance may be provided prior to the formal assessment process taking place. The term ‘reasonable assistance’ is used to try to balance the need for support with the need to avoid giving too much assistance. If any candidates require more than what is deemed to be ‘reasonable assistance’, they may not be ready for assessment or it may be that they have been entered for the wrong level of qualification.

Reasonable assistance may be given on a generic basis to a class or group of candidates. It may also be given to candidates on an individual basis.

Assessors can provide candidates with some formative assistance prior to the formal assessment event.

Evidence to be gathered Assessors must use assessment recording documentation provided to record candidate achievement. This must show clearly the basis on which assessment judgements are made.

Volume The following evidence is required for this assessment:

 evidence of a single live performance of a technical solo in one dance style

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Performance marking instructions

General marking principles Elements of technique and performance are grouped together under broad criteria which incorporate a number of related or interdependent skills or performance qualities. The importance or prominence of particular skills/qualities within broad criteria may vary between dance styles and it is therefore not always appropriate to consider each one individually. In making an assessment judgement about broad criteria, the constituent parts should be considered together within the context of the dance style being performed.

Assessors allocate a mark up to the maximum available as detailed below. The assessor should select the band descriptor which most closely describes the standard of the candidate’s performance. Once the best fit has been selected:

 Where the candidate’s performance just meets the standard described, award the lowest mark from the range.  Where the candidate’s performance almost matches the band above, award the highest available mark from the range.  If the candidate’s performance meets all the standards described in the top band descriptor, and demonstrates particular competence, award the highest available mark for the criteria being assessed.

Detailed marking instructions Element 1: application of technique

Criteria Max Mark band descriptors mark a) Technical 5 4–5 accuracy and use As appropriate to the dance style, there is sustained control, of turnout/parallel fluency and smooth transitions throughout. as appropriate to dance style 2–3 As appropriate to the dance style, there is some evidence of control and fluency.

0–1 There is little or no evidence of control or fluency appropriate to the dance style. b) Centring, 5 4–5 balance, Centring, balance, alignment and posture are sustained alignment and throughout. posture 2–3 Centring, balance, alignment and posture are mainly sustained.

0–1

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Centring, balance, alignment and posture are not, or are barely, sustained. c) Stamina, 5 4–5 strength and Stamina, strength and flexibility are sustained throughout. flexibility 2–3 Stamina, strength and flexibility are mainly sustained.

0–1 Weaknesses in stamina, strength and flexibility significantly affect performance. d) Spatial 5 4–5 awareness and There is effective use of personal and general space, and accurate accurate recreation of choreography. recreation of choreography 2–3 There is some effective use of space and mainly accurate recreation of choreography.

0–1 There are significant weaknesses in both use of space and recreation of choreography.

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Element 2: application of performance skills

Criteria Max Mark band descriptors mark a) Timing and 5 4–5 musicality Timing is accurate and musicality enhances performance.

2–3 Timing is mainly accurate and musicality contributes to performance.

0–1 Performance is significantly affected by a lack of timing and musicality. b) Quality and 5 4–5 dynamics Quality of movement and varied dynamics enhance performance.

2–3 Quality and dynamics contribute to adequate performance.

0–1 Performance is significantly affected by a lack of quality and varied dynamics. c) Self- 5 4–5 expression, Self-expression, sense of performance, concentration and sense of focus are clearly evident. performance, concentration 2–3 and focus There is some evidence of self-expression, sense of performance, concentration and focus.

0–1 There is little or no evidence of self-expression, sense of performance, concentration and focus.

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Grading A candidate’s overall grade is determined by their performance across the course assessment. The course assessment is graded A–D on the basis of the total mark for all course assessment components.

Grade description for C For the award of grade C, candidates will typically have demonstrated successful performance in relation to the skills, knowledge and understanding for the course.

Grade description for A For the award of grade A, candidates will typically have demonstrated a consistently high level of performance in relation to the skills, knowledge and understanding for the course.

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Equality and inclusion

This course is designed to be as fair and as accessible as possible with no unnecessary barriers to learning or assessment.

For guidance on assessment arrangements for disabled candidates and/or those with additional support needs, please follow the link to the assessment arrangements web page: www.sqa.org.uk/assessmentarrangements.

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Further information

The following reference documents provide useful information and background.

 National 5 Dance subject page  Assessment arrangements web page  Building the Curriculum 3–5  Design Principles for National Courses  Guide to Assessment  SCQF Framework and SCQF level descriptors  SCQF Handbook  SQA Skills Framework: Skills for Learning, Skills for Life and Skills for Work  Coursework Authenticity: A Guide for Teachers and Lecturers  Educational Research Reports  SQA Guidelines on e-assessment for Schools  SQA e-assessment web page

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Appendix 1: course support notes Introduction These support notes are not mandatory. They provide advice and guidance to teachers and lecturers on approaches to delivering the course. They should be read in conjunction with this course specification and the specimen question paper and coursework.

Developing skills, knowledge and understanding This section provides further advice and guidance about skills, knowledge and understanding that could be included in the course. Teachers and lecturers should refer to this course specification for the skills, knowledge and understanding for the course assessment. Course planners have considerable flexibility to select coherent contexts which will stimulate and challenge their candidates, offering both breadth and depth.

The ‘approaches to learning and teaching’ and ‘preparing for course assessment’ sections provide suggested experiences and activities that teachers and lecturers can build into their delivery to develop the skills, knowledge and understanding of the course.

Approaches to learning and teaching Teachers or lecturers should guide candidates through the many opportunities to take responsibility for their own learning throughout the National 5 Dance course.

Teachers or lecturers should encourage personalisation and choice to promote inclusive approaches to teaching and learning. Teachers or lecturers should use a variety of learning and teaching strategies to suit the needs of all candidates, including those who have additional support needs.

Active learning strategies encourage candidates to critically reflect on their learning. For example, through watching live or recorded performances, and through self-check or peer review, candidates could compare their performance to that of a model performer. Candidates could further develop their understanding of good technique by evaluating each other regularly as part of classwork.

Technology can be a valuable resource in creating innovative learning and teaching approaches. Using technology to support the development of personal learning in dance can stimulate individual creativity and can further extend access, opportunity, personalisation and choice to all candidates.

The course is particularly suited to the following learning approaches:

 teacher-led  partner/peer  group work (small and large)  improvisational and creative tasks  research tasks

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 mini projects  presentations  reflection tasks

Learning approaches should be supported by quality feedback that could be:

 verbal  visual  written  kinaesthetic

This feedback should be based on criteria set by the teacher or lecturer and given to candidates in one or more of the following ways:

 on a one-to-one basis, delivered by the teacher or lecturer  in a small group or whole-class setting, delivered by the teacher or lecturer  on a one-to-one basis, delivered by a peer  in a small group setting, delivered by peers

Candidates’ ability to self-evaluate will support the development of their own performance and their ability to discuss strengths, weaknesses and impact on performance. Candidates should self-evaluate through verbal, visual, written and kinaesthetic feedback, reflecting on the process, impact and possibilities for improvement.

Preparing for course assessment

Performance Developing personal performance Dance styles Some candidates have limited experience, knowledge and/or understanding of dance styles. As a starting point, teachers or lecturers could share a piece of professional choreography from a selected dance style and discuss the key principles, skills, steps and qualities of a successful performance. From this, candidates can form an idea of what is expected from a performance in their chosen style.

Appendix 5 contains information about some suggested choreographies.

Throughout the course, candidates benefit from the experience of learning two contrasting dance styles. They should focus on one style initially to absorb the key fundamental principles and performance skills appropriate to all dance genres.

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Technical principles Performance skills Use of turnout/parallel Timing Posture Musicality Alignment Quality Centring Dynamics Balance Self-expression Control Sense of performance Stamina Projection Strength Concentration and focus Flexibility Spatial awareness Fluidity and smooth transitions

Developing personal performance presents an opportunity for integrated learning. Candidates should work both practically and theoretically to gain knowledge and understanding of technique and performance qualities. They should be able to apply knowledge and understanding appropriately to their performance within their chosen style of dance.

Teachers or lecturers should integrate safe dance practice into every dance class to ensure it becomes standard practice for all candidates, ie:

 warm-up  cool-down  hydration  correct attire  clear and safe performance space

Classwork should provide an opportunity to focus and inform the body and mind. Teachers or lecturers should teach set exercises that are repeated on the right and left side of the body. All exercises should be taught in a technically correct manner. Teachers or lecturers should provide candidates with constructive feedback to support and develop their performance, with achievable and realistic targets for improvement. Repeating and consolidating good technique, and supporting this with quality feedback provides the foundation for successful performance and a body of knowledge that to support the other areas of the course.

A structured class could include:

 cardiorespiratory work  set exercises: centre work, floor work, barre work  corner/travelling exercises  introductory classwork

Teachers or lecturers should optimise learning opportunities by incorporating appropriate style-specific technical elements into the exercises chosen. For example, including a focused approach to work on contraction and release is more relevant for a candidate studying contemporary dance than it is to a candidate studying tap dance.

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Sample classwork Appropriate classwork for National 5 Dance in a number of styles is included below.

Jazz Warm-up:

 roll-downs  isolations using head, shoulders, ribs, hips, feet  lunges  foot exercises  preparation for jumps ― first, second position  cardiorespiratory movements

Centre:

 use of feet and legs ― parallel/turnout/turn-in ― first, second position  use of arms ― first, second position  tendus and glissés  jazz pliés (parallel/turnout ― first, second position)  isolations sequence to include: head, shoulders, ribs, hips  ripples including dolphin and snake movements  preparation for developpé and developpés in first position  preparation for pirouettes  pas de bourrée  kicks (both flick and high)

Floor work:

 stretches in first/second position, parallel and turnout  core work  contraction and high release  sweeps and swings  transitions from standing to floor and reverse

Travelling:

 elevation including step-hops, sautés, jetés  turns including open turns and jazz turns  step-ball-change, cross-ball-change, flick-ball-change  jazz walks  straight-leg kick combinations: including forwards/back and side  combination of travelling movements

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Contemporary Warm-up:

 roll-downs  isolations using head, shoulders, ribs, hips, feet  lunges  foot exercises  preparation for jumps ― first, second position  cardiorespiratory movements

Centre work:

 lateral spine curves  high release  contractions  roll-downs in parallel  pliés in parallel and turnout (first and second position)  tendus and foot work in parallel and turnout

Floor work:

 swings  curves  high release  tilts  transitions from standing to floor and reverse

Swings:

 standing swings  figures of eight  ski swings

Travelling which includes runs:

 triplets  leaps  skips  turns  movement phrases using directions, floor patterns and floor work

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Hip hop Warm-up:

 roll-downs  isolations — shoulder, rib and hip  cardiorespiratory movements  cardiorespiratory movements incorporating dynamic arm movements

Centre:

 lunges  side stretches  pliés  weight transference movements such as front, back and step-ball-change and step knee lifts in second position  slide and glide  top rock  ripples/dolphins  popping and locking  heel groove  freeze  tutting  Bart Simpson  cabbage patch  Scooby Doo  shoulder lean  The Reebok

Floor work:

 core work  planks  push-ups  floor slides  four step  pin drop

Travelling:

 hip hop walks  glides  combinations from centre and floor work

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Classical ballet

Barre:

 demi and full pliés  battement tendu en croix  battement glissé en croix  battement fondu  rond de jambe à terre  développé devant and à la seconde  grand battement

Centre:

 using positions of the feet in first, second and third positions  positions of the arms ― first, second, third, fourth (open and crossed), fifth  port de bras en face  battement tendu  battement glissé  preparation for pirouette (relevé, retiré position, relevé devant, quarter and half turns)  first, second, third arabesque arm alignment with dégagé derrière  chassé ― en avant, en arrière, à la seconde and passé

Travelling steps:

 classical walks  pas de bourrée, devant and derrière  balance de coté  glissade, devant and derrière  couru

Allegro:

 sautés, échappé, changements (jumps in first, second, and third positions)  preparation for assemblé — dessus and dessous  petite assemblé  petite jetés  coupé ― dessus and dessous  temp levé in retiré derrière  pas de chat

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Tap Warm-up:

 springs and tap springs  toe taps  tap-step-ball-change  tap-step-heel  tap-heel-ball  shuffle-ball-change  hop  flap  stomp  ball and heel beats

Close work:

 shuffles front and side  pick-ups on two feet  four-beat cramp rolls  paddles  crawl  single-time step, with break (pick-up or shuffle)

Travelling steps:

 four-beat riffs  shuffle spring  waltz step  pick-up hop step  pick-up spring step

Turning steps:

 step-turn-step  pencil turn  step-ball-change turning  combinations from centre and close work

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Highland Warm-up:

 jumps in first, second, third, fourth and fifth positions  springs from foot to foot  hopping right and left foot  combinations of the above  combinations of the above using hand positions ― first, second, third, fourth and fifth

Basic positions:

 standing in first position and point in second, third, fourth and fifth ― both feet  hopping and using the same positions as above  standing in first position and working foot to second aerial, third aerial, third-rear aerial, mid-fourth and mid-fourth aerial, fourth intermediate, fourth-intermediate aerial  hopping and using the same positions as above

Basic movements and steps:

 bow  shedding  back-stepping  toe and heel  shake  rocking  cross-over  pas de-basque  open pas de basque  high-cutting  brushing  shuffles  hop brush beat beat  shake shake down  leap  Strathspey  highland reel  spring points  propelled pivot turn  last shedding  addressing the sword  pointing  crossing and pointing quick step  side travel

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Appendix 2 contains a detailed description of a sample of skills and techniques appropriate to National 5 Dance.

Performance skills Candidates should practise performance skills alongside technical skills. Teachers or lecturers should provide a learning environment which allows candidates to develop the following performance skills with a sound technical base:

 accurate recreation of movement  spatial awareness  timing  musicality  quality  dynamics  self-expression  sense of performance  concentration and focus

Teachers or lecturers should ensure that these performance skills are underpinned by a sound technical base.

Question paper — section 1 Evaluating personal performance Candidates should be able to define, describe, compare and evaluate their own performance using knowledge and understanding that they gather in a practical setting.

In the question paper candidates could be asked to:

 define specific skills, techniques and performance qualities from their chosen style  discuss the impact of these skills and techniques on their own performance  discuss to what extent performance qualities enhance or inhibit their overall performance  provide examples of development methods to improve all areas of personal performance: technical and performance skills  consider the impact of improvement on their overall performance  discuss further areas for improvement

The evaluation task described overleaf can help candidates to improve their evaluation skills and their personal performance.

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Evaluating and improving personal performance within a specific dance style Candidates could:

 Record a personal performance.  Watch a professional performance/model performance in the style and mood that best reflects their chosen style.  Identify, describe and discuss the key technical and performance qualities they observed.  Compare these technical and performance qualities to their personal performance.  Use feedback from their teacher or lecturer or peers to assist them with this comparison.  Consider development methods that would help to improve technique and performance  Repeat all of the above many times to consolidate learning, noting progress and areas for improvement.

Question paper — section 2 Knowledge and understanding of a chosen dance style The question paper requires candidates to demonstrate knowledge and understanding of a chosen dance style. Teachers or lecturers should supplement practical learning with classroom activities which allow candidates to explore their chosen style in more detail.

Teachers or lecturers could help candidates gain a deeper understanding of their chosen dance style by focusing on:

 style-specific steps, skills, characteristics and performance qualities that make the chosen style identifiable  key characteristics that make the chosen style identifiable, eg movement quality, music/sound and theatre arts such as costume/attire, make-up, lighting, props and set design  the origins and key historical developments of the style over time  influences and key developments that contribute to the style as seen today  an in-depth study of one piece of work from an influential choreographer in the chosen style that considers all of the above

Appendix 4 contains a list of suggested influential choreographers and dance companies to prepare learning and teaching activities for section 2.

Integrated approaches to preparing for course assessment Approach 1 The following teaching approach illustrates how teachers or lecturers can combine preparation for sections 1 and 2 of the question paper with preparation for the performance.

Step 1 — setting the scene Teachers and lecturers should set the scene for candidates. Teachers and lecturers should gather visual, verbal and kinaesthetic information to aid their knowledge and understanding. (Refer to appendix 4 and 5 for a list of suggested influential choreographers and choreographies to study.)

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Teaching activity  As an introduction, share a piece of professional choreography with candidates.  Discuss the key characteristics and style-specific steps that make it identifiable.  Discuss the desired performance qualities that are essential to delivering a successful performance in the style chosen.  Begin practical work in the knowledge that candidates have gained information about technical and performance qualities of their chosen dance style to support their learning.

Step 2 — practising the chosen dance style Teaching activity Structure classwork to include appropriate skills, techniques and desired performance qualities for the chosen dance style through set exercises and amalgamated sequences. Provide regular and appropriate feedback to candidates. Repeat these exercises and sequences until the performance becomes automatic and is technically correct.

Step 3 — personal performance The aim of this activity is to provide short, succinct and meaningful feedback to candidates. The criteria used to measure performance should be clear. Teachers and lecturers should work with candidates to set achievable targets.

Feedback activity (teacher or lecturer, peer or self-assessment) Consider all areas of candidates’ personal performances within a chosen style:

 Record a personal performance.  Watch a professional performance/model performance in the style and mood that best reflects the style being studied.  Identify, describe and discuss the key technical and performance qualities observed.  Compare these technical and performance qualities to the personal performance.  Discuss and evaluate any weaknesses and the impact they have on personal performance from a technical and performance quality perspective.  Discuss and evaluate any strengths and the impact they have on personal performance from a technical and performance quality perspective.  Use feedback from teachers or lecturer and peers to improve personal performance.  Describe skills and exercises that could be incorporated into structured classwork to help improvement.  Evaluate the impact of these skills and exercises on personal performance.  Repeat all of the above to ensure a clear understanding has been gained and can be demonstrated.

As an ongoing activity, ensure that candidates’ practical learning in steps 2 and 3 is supported through class and homework tasks which consider definitions, explanations and descriptions of skills, techniques and performance qualities.

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Step 4 — evaluating personal performance Evaluation activity  Use set written tasks to explore the impact of strengths and weaknesses on performance. Explore development methods that candidates could apply to improve identified areas of weakness and/or methods to maintain candidates’ strengths.  Candidates should articulate their knowledge and understanding and evaluation skills through short descriptive responses to questions on each element or principle, and through practical demonstration.

Step 5 — studying a chosen dance style Teaching activity Teachers and lecturers could prepare candidates to articulate their knowledge and understanding and write short descriptive answers in response to task and activities about:

 style-specific steps, skills, characteristics and performance qualities that make a chosen style identifiable  key characteristics that make a chosen style identifiable, eg movement quality and theatre arts such as costume/attire, make-up, music/sound, lighting, props and set design  the origins and key historical developments of a style over time  influences and key developments that contribute to a style as seen today  an in-depth study of one piece of work from an influential choreographer in a chosen style that considers all of the above

Step 6 — consolidating learning The tasks below give candidates the opportunity to consolidate their learning from steps 1 to 5. Teachers or lecturers could set these tasks independently throughout the year. Candidates could complete the work as homework tasks, classroom tasks or a mixture of both.

Candidate tasks Work individually, in pairs or small groups. Use the information you have gathered and:

 write a newspaper article that demonstrates all or a specific part of what you have learned  create a mood board that visually depicts what you have learned  create a slide presentation, eg PowerPoint and present what you have learned

Step 7 — preparing for external assessment in a chosen dance style Teachers or lecturers should refer to the marking instructions for the National 5 Dance performance (in this course specification) when preparing candidates for the performance.

Teachers or lecturers should choreograph and teach a technical solo in one dance style that lasts a minimum of 1 minute and 30 seconds and a maximum of 2 minutes that demonstrates the candidate’s ability to apply technical and performance skills as appropriate to the chosen dance style. The teaching process for the technical solo should cover knowledge and

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understanding of the chosen dance style, performance skills, and evaluating personal performance.

Teachers or lecturers should give candidates opportunities to perform solo under examination conditions before their final assessment. This helps to alleviate exam-day pressure and gives them time to work on coping strategies. Feedback from teachers or lecturers and peers is critical at this point in the course to sharpen performance.

Approach 2 The following teaching approach illustrates how teachers or lecturers can combine preparation for the practical activity with section 3 of the question paper.

Approach 1 covers evaluating personal performance and studying a chosen dance style. Teachers or lecturers should use their professional judgement to decide when to introduce this next part of the course to candidates.

Approach 2 continues to suggest experiential/kinaesthetic, verbal, written and visual learning opportunities; however, these opportunities have a creative focus. Learning and teaching activities should cover the basic principles of choreography and act as a springboard for creativity. To prepare candidates for the practical activity, teachers and lecturers could plan and prepare structured improvisation and creative tasks to explore choreographic principles.

Key considerations when planning Teachers or lecturers should plan tasks which are:

 relevant to the candidate’s age and stage of development  stimulating and presented to allow candidates to make the connection between stimulus, creativity and the end product of developed movement  open-ended so that candidates can use all movement creatively and experiment with choreographic principles (without the teacher or lecturer having to choreograph new movement)

Developing movement from a stimulus There is no right or wrong way to approach choreography. It can be a challenge to equip the mind-set of the candidate to creatively play with movement beyond the set steps that have been the focus of learning to date. To this end it is recommended that tasks ignite the imagination and set the scene for what we mean by the use of a stimulus, creative movement and ways to convey something to an audience through a piece of choreography.

Discussing professional choreography To set the scene, teachers or lecturers could begin by selecting a piece of professional choreography for candidates to discuss. (Appendix 5 contains suitable examples.)

Teachers or lecturers could then:

 discuss and share ideas on the impact that the choreography has on the audience

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 identify and discuss the theme/stimulus of the choreography and how it was conveyed through movement  lead a discussion around creativity  address the challenging idea that the choreographic process requires an emotional investment from the choreographer to ensure the intent is communicated  discuss how a choreographer works to get to the final point of performance  discuss the personal skills that may be required to successfully choreograph a dance  take time, over a number of weeks, to look at the impact and use of structure, choreographic devices, spatial elements and theatre arts  set a number of homework tasks where candidates have to explore and discuss the use and impact of theme/stimulus, structure, choreographic devices, spatial elements and impact of theatre arts  ask candidates to present to the class to share learning  introduce candidates to descriptive words for dance (see appendix 6), to develop vocabulary that can be used in both the choreography review in the practical activity and the evaluation of professional choreography section of the question paper

Exploring different types of stimulus ideas through movement Teachers or lecturers could introduce candidates to different types of stimulus ideas. The table below includes some examples.

Type of stimulus Example Visual a picture of a thunderstorm Written a poem that initiates feelings/emotions, eg ‘Dulce et Decorum Est’ by Wilfred Owen Audio a radio news report about the horror of war Tactile the impact on us of the various ways we are physically touched by people and things. http://youtu.be/mFlTjWsK5tE Kinaesthetic this stimulus is inspired from movement itself, it could be everyday movements, movements of a sports person or a dance phrase to form a piece of choreography Ideational creating movements to show the intention through conveying an idea or unfolding a story. This could be war, September 11, car crash or anything that provokes movement ideas for the candidate.

Initial motifs What is an initial motif? The initial motif should be a sequence of movement that underpins and supports everything created thereafter. The initial motif should be that first out-pouring of movement that represents something urgent that the choreographer has to use to portray their theme/stimulus and it should have the potential to be developed.

To ensure an integrated learning experience, candidates should be set tasks that challenge their ability to describe the movement being developed. Descriptive language for dance should be encouraged to convey the dynamic of the emotion being portrayed. (See list of descriptive words for dance in Appendix 6.)

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Teachers should work to develop initial motifs from chosen stimuli in an experiential learning environment.

Some ideas for a theme or stimulus:

 recycling  rainforests  the carbon footprint  opposites  films  phobias  the weather  the four elements (earth, air, fire ,water)  addiction  a labyrinth  a city street  everyday movements  storm at sea  the stages of growing older

Initial motifs Teachers or lecturers should set candidates activities, like the one described below, to challenge their ability to describe the movement being developed. Teachers and lecturers should encourage candidates to use descriptive language for dance to convey the dynamic of the emotion being portrayed. (See appendix 6.)

Learning and teaching activities  Candidates could bring a personal item to class. It could be anything: a photo, picture, object, book, clothing, poem.  In a workshop setting, candidates could explore feelings and thoughts provoked by their item. Candidates could then create a spider diagram of movement ideas and dynamics.  Candidates could use their spider diagram to transfer feelings, thoughts, emotions and words into movement. They could create a motif to reflect their personally chosen theme/stimulus.  Candidates could share their motifs in a group or class sharing exercise. The group could identify and discuss the theme/stimulus — a game of dance charades could keep everyone engaged.  The group could discuss and explore the impact that it can have when a choreographer experiments with movement.

Research To fully support an integrated learning experience, and help prepare for the written review and evaluation of professional choreography, teachers or lecturers should guide candidates

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through research of their chosen theme/stimulus. Having completed the previous tasks, candidates should be able to carry out independent research under the guidance of the teacher or lecturer. A choreography for two dancers, lasting between 1 minute and 30 seconds and 2 minutes is particularly suitable for this task. Candidates should carry out research before devising any movement.

Sources of information

 newspapers  documentaries  life events  films  theatre/live performances  books  poems  quotations  song lyrics  interviews  personal experiences  online information  museums  videos  historical journals  pictures/photographs  paintings

Key points to remember Candidates will be unable to tell a long story in the time given (between 1 minute and 30 seconds and 2 minutes). They should focus on one specific aspect from their chosen theme/stimulus, eg the portrayal of heartbreak, rather than the story of a long relationship, ensures meaningful movement can be developed.

Research should provide candidates with an insight into their theme to inspire movement ideas. Two areas of research are required for external assessment.

Research could be organised information in the form of a written paragraph, a spider diagram of words and ideas that relate to the theme/stimulus. It could include images, pieces of music and artwork that relate to the theme with descriptive words to demonstrate the emotional connection that the candidate feels. Candidates often enjoy putting all of their ideas onto a mood board before writing their final choreography review.

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Integrating learning Teachers or lecturers could timetable the following areas simultaneously:

 evaluating a professional dance performance  choreographic principles  exploring candidates’ own choreography

Integrated teacher or lecturer-led activities could focus on the development of theme/stimulus through:

 motif development  choreographic structure  choreographic devices  spatial elements  impact and use of theatre arts

The movements that candidates choreograph should be inspired from their research and therefore embody the essence of the chosen theme.

Motif development Developing a motif can help candidates to build up a sense of climax or tension, evoke emotional states, or convey the mood or theme of a dance.

When developing motifs, candidates should consider what movements:

 feel right  fit into the image to be portrayed  have meaning and are relevant to the dance idea  are interesting  are original  have potential for development

Motif development is a way of producing a lot from a little, while avoiding too much repetition (which may be monotonous for the audience).

Motifs are the ‘building blocks’ of a dance. Rather than continually inventing new movements for a dance, once a motif has been developed, variations can be used to develop it into a final piece of choreography. By varying the motif the choreographer is making the dance unique.

Candidates can vary their motifs in a number of ways, including:

 using different parts of the body  adding or changing direction  changing the size  changing the level

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 increasing or decreasing the speed  changing the dynamics or quality

Choreographic structure Choreographic structure refers to how the motifs and sections are linked together. Motifs are typically known as motif A, motif B and motif C for ease of explaining the well-known structures. Using choreographic structures can be a helpful way for candidates to put their ideas in order. They should use them in a way that is appropriate to the theme/stimulus that their dance is trying to convey.

Candidates may find the following table helpful.

Structure Description Binary Commonly used in dance composition. The first section A is (A, B) contrasted by a new section B, but both have a common thread which binds one to the other. Each section may have contrasting elements, but there must be something similar in nature too.

Ternary A conventional and satisfying form because going back to the (A, B, A) beginning ‘rounds it off’. The return to section A can be achieved by exact repetition of the initial section, or by reversing, highlighting parts, changing a few elements and changing the order of the elements. They must be closely linked, while section B forms the contrast.

Narrative form Narrative is a choreographic structure that follows a specific (A, B,C) storyline and should have a beginning, a middle and an end.

Rondo This provides the choreographer with a verse and chorus (A, B, A, C, A, framework that gives room for variation in the verses and D, A) development in the chorus. Variation can produce something new each time, but it must still have enough of the original to be considered a related part to the whole. Development can recall the original in many ways without changing the essence. This is a satisfying form to watch, as the viewer can quickly identify the chorus movement and enjoy its repetition – it becomes a ‘joining-in’ process.

Integrated task — identifying choreographic structure and evaluating professional choreography Teachers or lecturers could select a professional choreography (see appendix 5 for ideas), watch it with the class and then discuss the choreographer’s choice of structure and how it is used to convey the theme/stimulus. For homework, candidates could produce a description of how the structure was used and how it helped to communicate the theme/stimulus to the audience.

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Choreographic devices There are many devices for developing a motif. Devices appropriate to National 5 level include repetition, retrograde, unison, canon, mirroring, partner work, and contact improvisation.

Candidates might find the following information helpful.

Repetition In repetition, the same actions are performed in the same order in the same place on the stage. A direct repeat can be effective if the choreographer is trying to communicate or reinforce:

 a meaning or idea  a feeling of boredom or tedium  a sense of pattern in an abstract piece

Retrograde Retrograde is reversing the order in which a motif is performed, like rewinding a film, and can produce work that is more abstract but still relates to the theme.

Unison When dancers are performing in unison they are performing the same movements at the same time and so it can reinforce the theme behind the movement.

Mirroring This is when dancers copy each other, face-to-face, move-for-move, as if they are reflections of one another.

Partner work Partner work involves working with another person’s personal space, possibly with lifts, sharing weight or making contact.

Canon Canon is a compositional form in which the original motif is reinforced and amplified as it is stretched over a longer period of time. Individuals and/or groups perform the same movement or phrase beginning at different times. This device involves at least two dancers performing one or more motifs at different times. Canon creates interesting relationships within the group such as leader and follower, question and answer, co-operation and confrontation. It has unity and variety built into it and gives a sense of progression. The fact that the motif is shared gives the dance a sense of unity.

The most basic form of canon is a simple canon. Each dancer performs an entire motif and then stays still while another dancer takes over. This device can be developed by having the dancers begin the motif four counts after each other, placing demands on the dancers’ musicality and ability to perform in a group.

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Contact improvisation During contact improvisation, physical contact between two dancers is maintained while movement is improvised. One person leads and the other follows, but the dynamic between people can shift constantly.

Other devices that may be appropriate for National 5 are:

Juxtaposition Juxtaposition is where more than one dancer dances at the same time, however each dancer performs different steps or a different motif.

Accumulation Accumulation is where new movements are added to existing movements in a successive manner, for example, A, AB, ABC, ABCD.

Integrated learning task — learning, practising, refining, creating, describing and evaluating

 The teacher or lecturer could teach the class a motif based on a shared theme.  The teacher or lecturer could divide the class into pairs and give each pair a written choreographic device to apply to the motif.  The class could play dance charades, guessing and discussing the impact and effect of the devices used.  The teacher or lecturer could ask the pairs to join their motifs together. They could teach each other and then the teacher or lecturer could give each group an emotion to apply to their motif.  The class could play dance charades and guess the emotion and have a follow-up discussion.  In groups, candidates could combine the original motif taught with the movement created to perform extended pieces of creative movement. Finally, the class could consider performance qualities in relation to the intention/theme.

Spatial elements Candidates might find the following information about spatial elements helpful.

Definitions of spatial elements Personal space Space around you or on the spot General space Around the room/performing space Levels High, medium and low Direction Forwards, backwards, sideways, up, down, diagonal Body shape Wide, narrow, rounded, twisted, symmetrical, asymmetrical Size Large or small Proximity Near or far Pathways Straight, curved, angular, circular The stage area is typically split into nine areas and shown from the performers’ point of view:

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up stage right up stage centre up stage left (USR) (USC) (USL) centre stage right centre stage centre stage left (CSR) (CS) (CSL) down stage right down stage centre down stage left (DSR) (DSC) (DSL)

Audience

Centre stage area can fluctuate between strong and weak in a solo: if the actions are small and vulnerable the dancer can look lost in an enormous space, but if the actions are strong and commanding then the dancer seems to own the whole stage.

The choreographer should use up stage when trying to communicate ideas such as:

 solitude  alienation  vulnerability

The down stage areas build:

 intimacy  familiarity  detail

Integrated task — identifying spatial elements and evaluating professional choreography Teachers or lecturers could select a piece of professional choreography which exemplifies the use of spatial elements. ‘Overdrive’, choreographed by Richard Alston is a particularly suitable example. Teachers or lecturers could use this as the starting point for a discussion about the use of spatial elements in professional choreography.

Impact of music and sound and theatre arts Candidates might find the following information helpful. Music/sound  Helps create mood and atmosphere.  Helps show time (period and time of day).  Helps show location.  Creates special effects, eg gunfire.  Can highlight an emotional or dramatic moment in dance.

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Voice Spoken words can add to a performance, eg a poem, or extracts of a letter could be read aloud. Voice and music can be used in the same choreographed piece. Lighting

 The audience see the performance.  Creates mood or atmosphere.  Helps show time (period and time of day).  Helps show location.  Focuses attention on an area of the stage.  Creates special effects, eg lightning.

Wash of light This is created by stage lights having different coloured gels attached to them. The different colours can easily create different moods and atmosphere. For example, blues create a cold and eerie feeling, whilst reds and yellows create a warm feeling.

Spotlights This is where a single, strong beam of white light is directed specifically on certain dancers. It is used to highlight certain characters or movements. It creates a more intimate feeling and the audience are drawn to watch specifically what is being focused on.

Corridor of light This is similar to a spotlight. However, the light appears as a long vertical shaft. This is often used from the sides of the stage as opposed to from the audience’s perspective. ‘Swansong’ (Christopher Bruce, 1987) uses a corridor of light shining from up stage left towards which the dancer seems to be performing.

Side lights These give depth and mould well to the flexible body of the dancer due to the height at which they are positioned.

Cross light Light is directed onto the stage from more than one direction. Large amounts of light from front-of-house above will give a stagey look, whilst light shone from a low level only can create eerie shadows.

Cross fade As some lights fade up, others fade down. This is an effective approach to change from one scene to another.

Set design  Establishes place and time.  Provides information on the character, eg if it is their home or office.

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 Helps create mood or atmosphere.  Identifies a change in location.

Costume  Establishes time (period and time of day).  Gives information about the character.  Helps to show the location.  Can show status or occupation of a character.  Helps create mood or atmosphere.

Make-up and hair  Helps highlight performers’ features under lighting.  Can be used for fantasy/symbolic characters.  Gives information about characters’ personality and age.  Can be used for special effects, eg a scar.  Can show time and place of dance.

Props  Can be personal (a handbag which is specific to one character) or pre-set (a telephone which is used by all).  Can establish place and time.  Gives information about characters.  Shows location.  Can show status or occupation of character.  Helps create mood and atmosphere.

Integrated task — identifying use and impact of theatre arts and evaluating professional choreography This task is useful preparation for section 3 of the question paper and both sections of the practical activity.

Teachers or lecturers could select a piece of professional choreography that features theatre arts. ‘Cats’ (the musical) or ‘Ghost Dances’ by Christopher Bruce are appropriate examples.

Candidates could identify and describe the theatre arts in these examples of professional choreography. Teachers or lecturers could use this task as the starting point for a class or group discussion about the use and impact of theatre arts in choreography.

Integrated specific learning task appropriate for a dance for two people Teachers and lecturers should dedicate time to ensure each candidate is equipped with the essential skills and tools to create a choreography for two dancers that is creative and original with a clear theme/stimulus.

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Teachers or lecturers could give candidates a theme/stimulus such as ‘escape’. Both dancers could start up stage right and move down stage on the diagonal, creating movement for two people that is developed by the choreographic principles they have learned. The aim of this activity is to bring all of the learning together to create movement that depicts a theme.

In a dance for two people, tasks could include:

 how/what/where/when actions are performed in relation to conveying a theme/stimulus when there are only two dancers  developing dynamics as appropriate to the theme/stimulus  exploring the relationship between two dancers in terms of choreographic devices as appropriate to the theme/stimulus  creating a floor plan that helps convey the theme/stimulus when there are two dancers on stage

Reflecting on choreography skills task The following task can be used to prepare candidates for the choreography review section of the practical activity. It could take the form of a class discussion, presentation or any other appropriate format that allows candidates to evaluate their strengths and weaknesses as a choreographer. Tasks could be set around:

 creativity  leadership  organisation  any other relevant skill required for choreography

Candidates should discuss and reflect on their own choreographic experiences. They could reflect on their choreographic work to date and think about feedback they have received from teachers, lecturers and peers.

While considering their own choreography, candidates should consider the following questions:

 Is the theme/stimulus clear to the audience?  Is there a motif or aspects of a motif that can be identified in some way with the portrayal of the theme?  Has this motif been developed?  Is there creative movement? Consider set dance steps and the way they are helping to convey the theme. If they do not help to convey the theme, their use should be questioned.  Is there an identifiable structure?  Have devices been used to convey the theme?  Have spatial elements been used well and with purpose?  Does the choice of music/sound contribute to the theme?  If theatre arts are used, are they appropriate?

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Developing skills for learning, skills for life and skills for work Course planners should identify opportunities throughout the course for candidates to develop skills for learning, skills for life and skills for work.

Candidates should be aware of the skills they are developing and teachers and lecturers can provide advice on opportunities to practise and improve them.

SQA does not formally assess skills for learning, skills for life and skills for work.

Some examples of potential opportunities to practise or improve some these skills are provided in the following table.

Skills for learning, skills Methodology Guidance for life, skills for work 3 Health and wellbeing  candidate Candidates should develop demonstrations performance skills by 3.1 Personal learning  personal reflection participating in physical activity and applying

3.3 Physical wellbeing creative expression. 4 Employability,  peer evaluation Candidates should be enterprise and  choreographic encouraged to take citizenship responsibility responsibility for organising their own learning during  performance 4.3 Working with others choreography. 5 Thinking skills  individual support logs Candidates could make  problem-solving activities video clips to chart progress 5.4 Analysing and through choreography of personal performance. evaluating A variety of stimuli could be  evaluating the work of presented for choreography professional 5.5 Creating of short sequences. Two choreographers contrasting choreographers could be identified for candidates to study.

There may also be opportunities to develop additional skills depending on approaches being used to deliver the course in each centre. This is for individual teachers and lecturers to manage.

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Skills for learning, skills Methodology Guidance for life, skills for work 1. Literacy  discussion forums Candidates should be encouraged to share 1.3 Listening and talking knowledge and ideas and how they have translated these into movement. 3 Health and wellbeing  participation in active Candidates should develop learning performance skills by 3.2 Emotional wellbeing participating in physical activity and applying creative expression. 5 Thinking skills  problem-solving activities Candidates should be through choreography encouraged to apply their 5.3 Applying understanding of dance to overcome problems when creating a choreography.

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Appendix 2: sample skills and techniques Jazz dance

Technical skill Description Pliés Pliés can be performed as a demi-plié or as a grand plié. They can also be performed in first positions parallel and turnout and second positions parallel and turnout. Tendus A tendu is a ‘point’ — a movement of the leg away from the body, culminating in an extension of the foot into a pointed position. It can be performed in a variety of directions around the body. Isolations An isolation is a signature movement in jazz dance. It occurs when one part of the body moves on its own. The head, shoulders, ribs and hips are the areas that can easily move in isolation. Bob Fosse, the choreographer, used this movement to great effect. Jazz turns Pencil turn: pirouette with both legs straight. Pirouette: turn on one leg that begins in plié and goes to relevé from a plié. Chassé with turn. Kicks A kick is a key technique in jazz dance. It can be used when travelling and can be performed to the front, side and rear. It can also be performed on a flat foot, from a plié and in relevé. The kicking action is normally through an extended leg but it can also be performed through a développé action then into the extension. Pas de bourrée The jazz pas de bourrée is a pattern of three steps performed in a rhythm of 1, 2, 3. The three steps: behind, side, in front. Jazz walks There are many varieties of jazz walks. Jazz walks can be performed, with isolation movements, in any direction and at any tempo. The jazz walk is performed low and into the floor with the ball of the foot making contact with the floor first. The jazz walk is demonstrated with jazz arms going through first position up to fifth and out to second. Travelling A combination of walks, leaps, ball changes and turns. combinations

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Contemporary dance

Technical skill Description

Roll-down This begins with a heavy head that leads the curvature of the spine. Ensure shoulders stay connected to back and do not hunch forward. Connect and engage abdominal muscles. Lateral curve (Side contraction) Body tips on the door plane sideways (laterally) by contraction of the oblique muscles. Shoulders stay even throughout and head should be in line with the spine. Contraction Begins with pulling in of abdominal muscles and creates curve in the spine. Head will follow naturally. Ideally stomach should resemble an ice cream scoop and breath out should accommodate to facilitate. Ensure shoulders stay connected on back. Grand-plié Same as demi-plié but heels are allowed off the floor as body goes all the way down. Ensure dancer does not sit in grand plié. Muscles should still be working and engaged. Heels stay on the floor until necessary that they come off and are pressed back onto the floor as soon as possible on recovery. This encourages the stretching and lengthening of the Achilles tendon. Tendu/glissé Foot extends out to point and heel stays pressed into the floor for as long as possible. Foot is fully pointed in line with the leg, not extending toes forward (sickling) or backwards (fishing). When closing, heel is pressed into the floor as soon as possible. Think of the foot cleaning or massaging the floor when tendu is opening and closing. Ensure no weight is put on the working foot but weight is slightly transferred onto the supporting leg. The leg should be fully straight and thigh pulled up. Follow the same action for glissé however the foot extends until it slightly leaves the floor. Leg swings Dancer is in a semi-supine position with arms out to sides on floor. Knees drop to one side and the opposite side leg traces a quarter circle along the floor. Leg then recovers back and finishes in starting position. Ensure feet and arms stay connected to the floor at all times. Standing swing Arms begin in fifth position (held upwards) arms swing forwards and accompany bending and straightening motions in knees to recover. Breath is an essential component. High release Imagine a belt around the torso just below the sternum. Body stays still below and above and spine arches backwards and rib cage expands. Breath in will allow for this. Imagine that you are presenting a saucer and tea cup on your sternum. Head will slightly tip back to be in line with the spine.

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Demi-plié Knees bend as far as possible without heels coming off of the floor. Pelvis is slightly tipped forward to ensure it is not sticking out backwards and gluteal muscles are tightly engaged. Knees track over the toes to prevent knee injury. Body should go up and down without any other changes (not forward or back). Tension should be applied to leg muscles and two-way stretch engaged.

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Hip hop dance

Technical skill Description Tutting Isolations of the arms and hands. Aim to make 90-degree angles with hands and elbows. Isolate each part as much as possible. Cabbage patch Step on right foot, step back on left foot, step ball change right foot (1, 2, 3 and 4). Rock forward with first step and back with second step. Arms can vary: push forward and back, push elbows out, one hand pushing etc. Bart Simpson Step right foot to right side, twisting knees to right side and bring feet together (1, 2). Arms travel to opposite side. The Reebok Use the shoulders and chest to slightly pop while brushing the arms and fists in front of each shoulder. Variations can include stepping to each side, jumping to the side where the arm is going etc. Body wave and Use the upper body to create a wave effect. One part starts and ripple another finishes the wave off. Example: head to toe, fingertips to knee, hips to head etc. Shoulder lean Bend knees using only the shoulders to move from side to side or front to back. Knee slide Place one hand down, bending both knees. The back knee should be a little higher than the front knee and slide forward on to hip/upper half of thigh. Drive hips forward. Push off the back foot. Scooby Doo Scuff right foot forward, finishing with thigh parallel to floor and foot flexed. Jump on to right foot and step forward and lunge on left leg (1 and 2). Arms move as though you are running. Movement should be high then low. Top rock Cross the right foot across to left-diagonal front then return to starting position (1, 2, 3, 4). Push hips forward. Body leans back. Push heel forward. Kick cross step Kick one foot, step across the other one, release the foot behind to the side. Add in arms — arms go straight out in front on the kick and cross, arms out to a T shape on the step.

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Appendix 3: example of knowledge and understanding for a chosen dance style Featured style: ballet

Style-specific steps The candidate should research style-specific ballet steps and be able to describe them if required, eg grand battement (a kicking motion of the leg), fondu (a peeling up of one foot as the supporting leg bends), assemble (a jump from one foot to two feet).

Key characteristics The candidate should reference key characteristics specific to the style such as movement quality, costume, music, typical performance venue, props, make-up. For example: ballet dancers wear special pointe shoes, which have hard toes, made of resin, to allow female dancers to dance on the tips of their toes. Traditionally, female ballet dancers wear tutus and dance to classical music. Ballet is a very technical style — turnout has to be maintained in every step, and ballet had its own particular vocabulary of steps. Ballet is the foundation of many other dance forms.

Where and when the chosen dance style originated The candidate could reference its origins in 15th century Italian renaissance courts, and how it was developed in France by Louis XIV.

Changes over time Candidates could give a brief explanation of the key points of development of the style since its origins. This could be historical facts about the style, or how use of the dance style in shows has changed over time, or an interpretation of how the style has morphed and mixed with other styles.

Candidates could make reference to the fact that ballet has undergone many developments in style:

 classical (with styles often determined by country, especially Russia, France, Italy) which features traditional technique and vocabulary  neoclassical which combines traditional technique with non-traditional music tempos and use of space  contemporary which is a form of dance influenced by both classical ballet and modern dance, which combines fundamental ballet techniques with modern dance concepts such as floor work and ‘turned in’ legs

Reference could be made to change in ‘tutus’, from long to short as it became more acceptable in a modern society.

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Influential choreographer Candidates could make reference to the ballet choreographer George Balanchine. He was the co-founder and ballet master of New York City Ballet and choreographed over 400 ballets including ‘Agon’, ‘Stars and Stripes’ and ‘Jewels’. He is often referred to as the founder of the neoclassical style of ballet.

Characteristics of choreographer’s style This may relate to the recurring themes, music selection, costume style, specific movement style, etc.

Candidates could identify that Balanchine, as a choreographer is known for his musicality; he expressed music with dance and worked extensively with Igor Stravinsky. Key characteristics of Balanchine’s style include:

 athletic dance quality, extreme speed and use of a very deep plié  a strong emphasis on line, with use of unconventional arm and hand placement  pirouettes en-dehors, taken from a lunge in fourth, rather than the conventional plié in fourth  a distinctive arabesque line with the hip open to the audience and the side arm pressed back

A further example could be the study of ‘Ghost Dances’ by Christopher Bruce, which offers many opportunities to discuss the imaginative use of costume and masks within a choreographed ballet to portray a theme.

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Appendix 4: learning and teaching resources

Candidates can develop their learning further by reading, researching, watching live or recorded performances. The following list of choreographers may help teacher and lecturers prepare learning and teaching activities for section 2 of the question paper and direct candidate to further study.

Influential choreographers: These include:

Alvin Ailey, Richard Alston, George Balanchine, Ashley Banjo, Pina Bausch, Matthew Bourne, Christopher Bruce, Jack Cole, Merce Cunningham, Siobhan Davies, Isadora Duncan, Bob Fosse, Itzik Galili, Martha Graham, Gregory Hines, Doris Humphrey, Shobana Jeyasingh, Akram Khan, Rudolf Laban, José Limón, Edouard Louk, Gillian Lynne, Matt Mattox, Henri Oguike, Ann Reinking, Wade Robson, Ashley Page, Shane Sparks, Paul Taylor, Jasmin Vardimon.

Dance companies and organisations These include:

 Council for Dance Education and Training  Creative Scotland  Dance UK  DV8 Physical Theatre  Foundation for Community Dance  Londondance (dance companies, reviews, jobs)  National Dance Resource Centre for Dance  New York City Ballet  Rambert  Royal Ballet  Scottish Ballet  Scottish Dance Theatre  The Stage (newspaper for dance and theatre)  YDance  Youth Dance England

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Dance teachers’ associations also have websites which contain valuable information, as listed below:

 BATD — British Association of Teachers of Dancing  BDC ― British Dance Council  CDET — Council for Dance Education and Training  IDTA — International Dance Teachers’ Association  ISTD — Imperial Society of Teachers of Dancing  One Dance UK  RAD — Royal Academy of Dance  SDTA — Scottish Dance Teachers’ Alliance  SOBHD — Scottish Official Board of Highland Dancing  UKA Dance — United Kingdom Alliance of Professional Teachers of Dancing and Kindred Arts

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Appendix 5: recommended list of professional choreographies

The following list may be useful when preparing candidates for choreography and selecting an appropriate professional dance to study for section 3 of the question paper.

Title of choreography Choreographer Dance company Broken (contemporary) Kevin Finnan Motionhouse Charge (contemporary ) Kevin Finnan Motionhouse A Linha Curva (contemporary) Itzik Galili Rambert Ghost Dances (contemporary) Christopher Bruce Rambert Hush (contemporary) Christopher Bruce Rambert Swansong (contemporary) Christopher Bruce Rambert Shadows (contemporary) Christopher Bruce Phoenix Dance Theatre Park (physical theatre) Jasmin Vardimon Jasmin Vardimon Company Pinocchio (physical theatre) Jasmin Vardimon Jasmin Vardimon Company What On Earth (contemporary) Janet Smith and Scottish Dance Theatre Sally Owen Overdrive (contemporary) Richard Alston Richard Alston Dance Company Faultline (contemporary) Shobana Jeyasingh Shobana Jeyasingh Dance Rush (contemporary) Akram Khan Akram Khan Company Until The Lions (contemporary) Akram Khan Akram Khan Company White Space (contemporary) Henri Oguike Henri Oguike Dance Emancipation of Expressionism Kenrick ‘H20’ Sandy Boy Blue Entertainment (hip hop) Still Life at the Penguin Café David Bintley The Royal Ballet (ballet) Infra (contemporary ballet) Wayne McGregor The Royal Ballet Edward Scissorhands (2005) Matthew Bourne New Adventures Company (ballet) Red Shoes (2016) (ballet) Matthew Bourne New Adventures Company

This list is not exhaustive or prescriptive.

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Professional dance choreographies The following duets, from Duets by Mia Michaels ‘So You Think You Can Dance’, may help to prepare candidates for their practical activity choreography:  Adagio for Strings  Addiction (2012)  Calling You — Travis and Heidi  Reunion in Heaven — Lucy and Neil

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Appendix 6: word bank

The table below contains words that candidates could use to describe movement:

Angry Big Bolt Bounce Chase Creepy Dart Dash Drive Dynamic Elevation Effortless Expand Fast Flee Flick Fly Gallop Gentle Graceful Hurl Hurry Melt Plummet Plunge Powerful Propel Release Sharp Slow Small Soft Soar Soft Spring Strong Sustained Swerve Swing Swoop Zoom

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Administrative information

Published: September 2018 (version 3.0)

History of changes to course specification

Version Description of change Date 2.0 Course support notes added as an appendix. August 2017

3.0 Amendments made to clarify dance terminology, and to help align September to the Higher course specification. 2018

Appendix 4 and appendix 5 updated, to clarify appropriateness of professional choreographies.

This course specification may be reproduced in whole or in part for educational purposes provided that no profit is derived from reproduction and that, if reproduced in part, the source is acknowledged. Additional copies of this course specification can be downloaded from SQA’s website at www.sqa.org.uk.

Note: you are advised to check SQA’s website to ensure you are using the most up-to-date version of the course specification.

© Scottish Qualifications Authority 2012, 2017, 2018

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